Though he was blind from birth Alfred Hollins
– born in Hull in 1865 – pursued a career as an international
virtuoso pianist. For half a decade between 1883 and 1888 he
played with, amongst others, the Berlin and New York Philharmonics
and the Halle. Even von Bülow, not an easy character to win
over, thought highly of him. But Hollins came to realise that
the “physical strain” involved in incessant touring would have
eventually proved too great. Instead he became an organist firstly
in Norwood and eventually in Edinburgh, where he was to spend
the remainder of his life. He did tour as a virtuoso organist
– to the Dominions and to America and extensively so – and he
was also responsible for organ designs. He designed the organ
for Dundee’s Caird Hall and gave the opening recital on it in
1923. That is the instrument played on this recording by Timothy
Byram-Wigfield.

The recital includes
the three Concert Overtures and they comprise the spine around
which the programme develops. The C major dates from 1899 and
opens in brilliantly confident style – lashings of virtuoso
swagger and some cocksure themes as well. The bravado and élan
of the writing, entirely matched by the playing by the way,
is further cemented by the sound of the organ itself, which
is magnificently realised. It must have been no easy matter
for the Delphian team to capture this powerful beast with its
intensely powerful wind pressure – but capture it they have
and triumphantly too.

Benediction Nuptiale
provides an immediate contrast – delicate and limpid registrations
and written for a marriage. Its dreamy, hazy delicacy seems
to evoke popular song as much as anything. A Trumpet Minuet
might seem to evoke Walford Davies and Hamilton Harty – and
perhaps does - but its bluff vigour is highly infectious whereas
the much earlier 1906 Allegretto grazioso is a total
charmer. The C minor Concert Overture is cast in late nineteenth
century orchestral style. Apparently Cyril Rootham said “I hear
the fiddles in it.” True, and I can also hear the clarinets
in it. Though it’s rather sectional – or seems so – it has a
strong and decisive logic and a grand, grand climax.

The French horn
stop and carillon are to the fore in the Evening Rest
– written in 1917. The work that Hollins most liked was his
Andante in D - it’s ripely romantic, hugely impressive and
has a genuinely resplendent climax before quietly dying away.
Needless to say A Song of Sunshine is very un-Delian
and cast in similarly jovial, though not bucolic, style is the
Maytime Gavotte. The Theme with Variations and Fugue
is a big, grand and noble affair and the last Concert Overture
is rousing with a capital R.

Well, this is a
real stunner of a disc. Everything about it is right – from
the booklet to the recording and all stops in between. Byram-Wigfield
marshals it all with memorable vivacity.

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